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11/15/2020
Charles Koechlin: Les Chants de Nectaire Third Series, opus 200: “Prière dans le mode dorien” – “Réponse de la divinité tutélaire” – “Prière d’un malade” – “Cortège de jeunes filles” – “Danse au soleil du matin dans la campagne” – “Cortège d’éphèbes” – “Prière des enfants” – “Danses pour saluer le retour du printemps” – “Epithalame” – “Prière de l’épouse dont le mari est parti à la guerre” – “Danses pour célébrer le retour du Père” – “Prière funéraire” – “Danses pour célébrer d’heureuses fiançailles” – “Prière des orphelins” – “Incantation pour guérir un cerveau malade” – “Tityre remercie les Dieux” – “Hymne du philosophe devant la nuit d’étoiles” – “Danses d’adolescents devant la maison heureuse” – “Le Maître enseigne à ses élèves la vie harmonieuse des Sages antiques” – “Ronde joyeuse dans les prés fleuris” – “Prière aux Dieux protecteurs du foyer” – “Prière de l’aïeul” – “Autre prière de l’aïeul” – “Danse” – “Cortège” – “Incantation pour écarter les mauvais esprits” – “Danse de Faunes familiers” – “Cortège” – “Prière pour guérir un malade” – “Autre prière pour la guérison” – “Cortège d’actions de grâce”
Nicola Woodward (flute)
Recording: Clifton Cathedral, Bristol, England (January - February 2020) – 72’09
Hoxa Sound HS190207 (Distributed by Naxos of America) – Notes in English
 
Compared to Volume 1 and Volume 2, this third and final edition of Charles Koechlin’s ephemeral gatherings depicts prayers, processions and dances dwelling more on the somber side. Compacted inside these musical epistles is an aura of stately formality with respect and honor. Nicola Woodward persuades her flute to give every passage a unique disposition and nudges with dignified nuances.
The music’s gestures are simplified, nothing offensive, rather aligning with more formal diplomacy. Even inside the dances, while trending the ebullient, Nicola Woodward makes Koechlin’s compositions ring out with fond distance. The same holds true in the processions with airs of politeness, though the distillation is genuine and intimate, such as in the concluding ”Cortège d’actions de grâce”.
Set inside the D to D scale, the opening ”Prière dans le mode dorien” is apt in the way it acts as Koechlin’s opus 200 preamble: Mlle Woodward’s innate ability to delve into Koechlin’s vignettes is genuine...sophisticated without going overboard. One piece, however, tends to disrupt the established cadence, occurring almost midway: the ”Prière funéraire” is severe, blistering and jagged, the unexpected venture is quite remarkable. But immediately thereafter, the musical algorithm is restored and we move in fashion as experienced in the first segment.
Charles Koechlin’s musical output was lustrous, and inside the gates of Nicola Woodward’s enchanted flute, we are sheltered by warmth and comfort. These œuvres speak cleanly to each one of us: we feel an absolute connection.
Christie Grimstad
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